The story told in the chronological ordering of 'All What Jazz' is ultimately a tragic one. It's the story of jazz outgrowing Larkin's patronage of it, to the point where he came to feel that it wasn't speaking to him anymore, and since there were few art forms that he had loved more, it must have come to him as a terrible betrayal. This book is proof that a 'tin ear' doesn't have to come from insensitivity to the beauty of music as such, but can also be acquired, slowly and painfully, when you begin to suspect that the people making the music that you love do not want to make it for you anymore. Larkin wasn't religious and could hardly have been attracted to something as violent and devotional as Coltrane's 'A Love Supreme' or 'Ascension'. He wanted to jazz to go on being the music he'd been young to. That it couldn't do that was its glory and our benefit, but his personal tragedy.
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毒，P129
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